© Luc Boegly

吕克·博格利

架构师提供的文本描述。2009年，在桑蒂尔主教的倡议下，Créteil教区协会在枢机主教Chantiers的支持下，选择了一个雄心勃勃的项目，以扩建圣母院-德Créteil大教堂。这座建筑是由罗马大奖赛的拥有者查尔斯古斯塔夫斯托斯科普夫(charles-gustave stoskopf)设计的，它是上世纪70年代的典型建筑，当时“融合神学”盛行。它是Créteil市当代遗产的一部分。

Text description provided by the architects. In 2009, on the initiative of Bishop Santier, the diocesan association of Créteil, supported by the Chantiers du Cardinal, opted for an ambitious project to expand the cathedral of Notre-Dame de Créteil. Conceived by Charles-Gustave Stoskopf, holder of the Prix de Rome, this architecture is typical of the 1970s when “the theology of blending-in” prevailed at the time. It is part of the contemporary heritage of the City of Créteil.

该委员会将使大教堂的容量增加一倍，并提高其对这座城市的能见度。除了翻修，这个项目还涉及大教堂的重大重建，从象征和田园的角度给它一个新的建筑租赁生活。新的大教堂锚定在一个多元文化的城市，包括五座天主教堂、十座犹太教堂、一座清真寺、一座新教教堂、四座福音教堂、一座佛教寺庙和一座巴哈教派。

The commission was to double the capacity of the cathedral and to enhance its visibility towards the city. More than a renovation, this project involved a major redevelopment of the cathedral, giving it a new architectural lease on life from a symbolic and pastoral point of view. The new cathedral is anchored in a multicultural city, which includes five Catholic churches, ten synagogues, a mosque, a Protestant church, four Evangelical churches, a Buddhist temple and a Bahai assembly.

建立了两种不同的建筑风格之间的对话，但也是一致的。圆顶指向天空是基于原来的大教堂的足迹。入口的轮廓，从人类的角度来看，现在与新项目的巨大比例结合在一起，集中在大教堂的内殿上，从两个球状的木质外壳延伸而来，就像两只手合在一起祈祷，在祭坛上方相会。

A dialogue between two different architectural styles, yet consistent, is established. The dome pointing skywards is based on the footprint of the original cathedral. The silhouette of the entrance, on a human scale, is now joined with the monumental proportions of the new project, focusing on the nave of the cathedral that extends from two spherical wood-clad hulls, like two hands joined in prayer that meet above the altar.

 Master Plan

在这个新的空间里可以举行大型聚会。现有的避难所已经改建，长椅被放置在一个宽的半圆形。白天，位于两座船体交界处的彩色玻璃窗向圣所投射出一束彩色的光，而在夜间，从内部照射，它们就成了一个活生生的基督教社区的象征。

Large gatherings can be held in this new space. The existing sanctuary has been remodeled and the benches are placed in a broad semicircle. In daylight, the stained-glass window located at the junction of the two hulls shed a colored light onto the sanctuary, while at night, illuminated from inside, they become the symbol of a living Christian community.

尖塔与前院拐角处的建筑物分开，标志着教堂入口的细长轮廓，中间有三个来自旧教堂的钟声。它恢复了建筑的城市规模，并成为城市的标志，旁边的大型住宅建筑的邻里。通过打开树幕，可以看到教堂前院的景色。这座由城市在对面建造的新广场是当地居民的一种便利设施，是教区生活的延伸。

The steeple, detached from the building on the corner of the forecourt, marks the cathedral entrance with its slender silhouette, punctuated by three bells from the old campanile. It restores the building urban scale and become a sign in the city beside the large residential buildings of the neighborhood. The view onto the cathedral forecourt is freed by opening the curtain of trees. The new square, built by the city on the opposite side, is an amenity for local residents, and an extension of parish life.

 © Luc Boegly

吕克·博格利

由礼拜仪式构成的空间

A SPACE STRUCTURED BY THE LITURGY

因此，在确定了项目的体系结构元素之后，我们仍然必须确定具体的内容。新的大教堂空间组织为我们提供了我们所需要的框架。支撑在离地面约5米高的水平露台上的两个圆柱形混凝土墙，成为在祭坛上方20米处会聚的两个三维空间木船体。宗教轴心诞生于圣所对面的小教堂，取代了以前的花园。它的特点是洗礼的存在。我们决定，作为大教堂庄严游行路线的这一轴线将成为排列所有结构的标准：因此，贝壳的支撑拱都是平行于这一礼拜轴的。

Having thus determined the architectural element of the project, we still had to determine the specifics. The new spatial organisation of the cathedral provided us with the framework we needed. The two cylindrical concrete walls that support a horizontal terrace situated about 5 metres high from the ground, become two tridimensional wooden hulls that converge at 20 metres above the altar. The liturgical axis was born from the creation of a chapel facing the sanctuary, in place of the former garden. It is marked by the presence of the baptistry. We decided that this axis, which would be the route of solemn processions in the cathedral, would become the standard for arranging all the structures: thus the supporting arches of the shells are all drawn in parallel to this liturgical axis.

 Floor Plan

这种独特和独特的建筑扩展是由礼拜轴定义的。设计的几何复杂性-每个拱门是独特的，反映在轴的任何一边-创造了一个空间的张力，同时静态和动态。每一次运动都会成为一种特殊的体验，尤其是通过在船体球面曲线上的拱的进步所产生的透明和不透明的“加速”。这一建筑运动的例子是稳定的拱形悬挂平台在中心的大教堂，从而创造了一个长时间的旅行。

This unique and particular architectural expansion is defined by the liturgical axis. The geometric complexity of the design – each arch is unique, mirrored on either side of the axis – creates a space under tension, at once static and dynamic. Each mouvement becomes a particular experience, especially through the “accelerations” of transparencies and opacities created by the progress of the arches on the spherical curve of the hulls. This architecture in motion is illustrated by the steady arch of the hanged platform at the centre of the cathedral, thus creating a long travelling.

 © Yves Mernier

(Yves Mernier)

木材的温暖

THE WARMTH OF WOOD

斯托斯科普夫的白色建筑是新大教堂的背景，里面和外面都是用木头装饰的。这种物质的统一指的是古代的大教堂，在那里，这些石器的质量被光切割和凿成。这样就可以直观地阅读建筑物的两层，但最重要的是，它代表着统一和简单。

The white architecture of Stoskopf serves as the setting for the new cathedral, clad all in wood, inside and out. This unity of material refers back to the ancient cathedrals, where the mass of these stone vessels was cut and chiseled by the light. This allows a straightforward reading of the two layers of the building, but most importantly, stands for unity and simplicity.

 © Luc Boegly

吕克·博格利

云杉拱门的重复赋予了船体内部装饰风格的节奏。这里的意图不是提供一个最优的结构，计算到最好的程度，也不是显示任何技术能力，而是描述一个神圣的空间的密度。穹顶上的拱门和交织在一起的可能性是一样多的。彼得的船，灵魂的费舍尔，也是这里的建议。

The repetition of spruce arches gives rhythm to the interior decorative style of the hulls. The intention here is not to offer an optimal structure, calculated to the finest degree, nor to display any technical prowess, but to characterise the density of a sacramental space. There are as many arches as intertwinning possibilities at the top of the dome. The boat of Peter, fisher of souls, is also suggested here.

在外面，船体和尖塔的包层也是用木头处理的，与拱门的平行几何形状相同。道格拉斯冷杉的木条是预先遮阳的，以确保美观一致的老化。木材是一种自然的、有生命的物质，它既卑微又高贵。它非常适合建筑物曲线的设计。它的温暖也是兄弟会的一种模式，团结在一起庆祝教会的圣礼。

Outside, the cladding of the hull and the steeple are also handled in wood, following the same parallel geometry of the arches. The wooden strips of Douglas fir are pre-shaded to ensure an aesthetically uniform ageing. Wood is a natural, living material, at once humble and noble. It lends itself perfectly to the design of the building’s curves. Its warmth also serves as a pattern of a fraternal community, united in the celebration of the sacraments of the Church.

 © Yves Mernier

(Yves Mernier)

在灯光下

AND BY THE LIGHT

另一个运动，另一个垂直于前一个的轴，横过大教堂的空间。这个轴是彩色玻璃之一，它的彩色光环绕着它的天顶的空间。还有一条上升的道路，上升到这个光的源头：从祭坛到通往画廊的两个通道的移动，这条通道是由彩色玻璃的曲线延伸而来的。一条光之路垂直地悬挂在祭坛上，这是乌多·泽布克宏伟的彩色玻璃的组成的高潮。因此，十字架在三维空间中标志着这个空间，这个空间随着白天和季节的节奏而振动，大教堂在指南针点上的方位-多少度-以及南船体顶部彩色玻璃的位置，让建筑物一整天都能接收阳光。

Another mouvement, another axis, perpendicular to the previous one, crosses the space of the cathedral. This axis is the one of the stained glass, whose colored light encircles the space from its zenith. There is also an ascending path that rises to the source of this light: a mouvement from the altar to the two access steps to the gallery, which is extended by the curve of the stained glass. A path of light hangs vertically from the altar, climax of the composition of the Udo Zembok’s magnificent stained glass. The cross thus signs this space in three Dimensions, a space that vibrates to the rhythm of day and seasons, the orientation of the cathedral on the points of the compass — give or take a few degrees — and the positioning of the stained glass at the head of the southern hull, allowing the building to receive sunlight throughout the day.

两种相交的贝壳形空间形式的建筑概念，庆祝了一个空间，它像一条边界沿着两卷书的界面展开。这个空间，设计成一个玻璃拱门，是这个委员会的工作场所。在空间上，半圆弧形由东向西延伸。作为唯一的自然光源，弧形在天顶达到顶点，垂直中心在祭坛上。每隔一段时间，横切的木肋骨就会打断玻璃的连续带状。

The architectural concept of two intersecting shellshaped spatial forms celebrate a space which unfolds like a border along the interface of the two volumes. This space, designed as a glass arch, is the field of play for this commission. Spatially, the semi-circular arc opens up from east to west. As the only source of natural light the arc culminates at the zenith, vertically centred over the altar. At regular intervals, crosssection wooden ribs interrupt the continuous ribbon of glass.

我们对特定建筑形态的艺术反应是基于这样的观念，即入射的阳光在艺术上发生了变形，因此应该同样“升华”到神圣的空间中。然而，矛盾的是，光本身是看不见的，因为只有当光在物质上反射或流过过滤器时，我们才能感觉到它。概念和构图的简单为观察者提供了不同层次的理解。光谱的范围从我们喜欢的彩色过滤颜色及其对大教堂内部建筑的影响，到三原色光的概念，他们的空间位置和神圣三位一体的象征意义。撤销Zinck

Our artistic response to the given architectural shape is based on the idea that the incident sunlight artistically metamorphoses and thus should enter equally „sublimated“ into the sacred space. Paradoxically, however, light itself is invisible, because it is only perceptible to our senses when it reflects on material or flows through filters. The simplicity of the concept and composition opens up a range of different levels of understanding for the observant visitor. The spectrum ranges from our delight in chromatic filtered colours and their effects on the interior architecture of the cathedral, to the concept of the three primary colours of light, their spatial positions and the symbolism of the Holy Trinity. Undo Zembok

 © Yves Mernier

(Yves Mernier)

文化中心

THE CULTURAL CENTRE

大教堂的扩建包括创建一个文化中心，旨在为瓦尔德马恩的居民提供文化和艺术活动。一个会议室和一个小礼堂占据了原来专门用于两间多用途房间的空间。这些空间可以通过连接两个入口的展览馆进入。在它的中心，一个天窗可以看到尖塔上的十字架。阳光透过天窗照射每个房间的入口处。在大毒枭附近，一家书店的咖啡馆在大教堂的入口处创造了一个友好的空间。

The extension of the cathedral included the creation of a cultural centre intended to offer cultural and artistic events to the Val-de-Marne’s inhabitants. A conference room and a small auditorium occupy the space originally dedicated to two multipurpose rooms. These spaces are accessible through an exhibition gallery that connects the two entrance narthexes. At its centre, a skylight allows a glimpse of the cross on the steeple. The sunlight goes trough a skylight and illuminates the entrance to each room. Near the large narthex, a bookstore café creates a friendly space at the entrance of the cathedral.

结构与支撑

STRUCTURE AND SUPPORT

木结构框架主要由130个胶合拱(16x75 Cm)组成，最长的外拱为26.5米，最小弯曲半径为6m。所述拱被布置在彼此放置56厘米的平行梁系统中。拱门由配件、螺栓和金属轴连接在底部。两个船体顶部的耦合是通过交替组装位于连接层合梁上的南北拱与配件、螺栓和钉子来实现的。屋顶甲板板条然后直接连接到主要结构；横梁铺设允许他们弯曲在胶合的叠层拱上。

The main structure of the timber framing is composed of approximately 130 glue-laminated arches (16x75cm) ; the longest extrados arch is 26.5 metres and the smallest bending radius is 6 metres. The arches are arranged in a system of parallel beams placed 56cm from one another. The arches are jointed on the bottom by fittings, bolts and a metal axis. The coupling on the top of the two hulls is achieved by assembling alternately the northern and southern arches resting on a connecting laminated glued beam with fittings, bolts and nails. The roof deck batten is then attached directly to the main structure; the cross-laying of battens allows them to bending on the glued laminated arches.

Architects Architecture-Studio

Location Paris, France

Category Extension

Project Year 2015

Photographs Yves Mernier , Luc Boegly , Fargeot